The Republican journal. [volume] (Belfast, Me.) 1829-current, 1887-03-24
That "Old Violin"

To THE EDITOR OF TIE JOURNAL: FIRE.
that is my custom at least twice each weck-I
am tempted to pen something based upon
topics discussed in your columns. Some of
your contemporaries have recently wondered
why you always have pressure of articles for
the journal. For my part the surprise is that
you are not driven to the use of nonparcil in
ali departments. Happily for your peace of
mind my time is so limited that l cannot act
upon the inspirations above quoted But to-
night ! must make an exception. The article
headed "An Old Niolin." in your last issue, is
too much for my nerves. and Saturday night
though it is must throw comfort and >cruplc>
to the wind. First of all let me congratulate
your fellow citizen, MIR. Chase, upon the
possession of Cremonese instrument. if he
enjoys that distinction. ! can sympathiZe with
the feelings of tisfaction that we'll up in the
breast of him who has such Il treasure. How
tcndcrIy we fondlc these marvcS of Italian
craftsmen! Lie there, my old Venetian violin,
in the place of honor accorded thee long ago,
and let an enemy take away earthly possessions
rather than permit us to be divorced.
1t goes without question that your Local
Editor is an accomplished writer. He has
proved himself within Il few moons IL success
ful hunter of other things than local items. He
told me during the night | passed in Belfast,
last summer, that he was going to kill a deer
ere winter closed in. | gave some advice re-
gardEg weapons; none as to methods. As
"cditors are said to know everything' he was
informed on that subject. Had he observed
that he was about to write concerning the
violin of Italy, | should have given grave adj
vice and warned him that the topic was danger
olis-in fact, it is the exception to the rule on
editorial knowledge. As the result of such
rcck!eSsncSs in one ordinarily prudent, we find
in his second paragraph, of Il little over eight
lines, siXty-nine words which ctfectlIally dis
pose of the history of Italian Instruments.
Marvellous is the brevity and inaccuracy there
di>played. | once attempted to cover the same
ground. After pruning my offspring energetic
ally, | found it embraced over 10000 words
with nineteen topics still left for consideration.
In attempting il choice as to which should be
omitted, | finally threw them all into the fire,
and whent the scraps became cinder> abandon-
ed the task.
1t is true 'The best violns We're made in
Cremona, Italy," but not 50 that they We're
constructed "between 1900 and TOO" Were
only De Beriot and Ole Bull with us again this
statement of locality might meet some opposi-
ton. for the former master selected Maggini.
"
Both of these celebrated luthierS wrought in
Bre>cia. the cradle of violin making. Concerl-
ing the dates: Nicholas Anlat was born in
Crcmona in 1886. died 1854. He made great
violinS. exceedingly tine Instruments but it
cannot be conceded they were 1.-THE best -
Antonius StradivariuS. the king of CrcmoneSe
Workmen, made marvellous instruments before
100. His masterpieces were executed between
the years l1l4-25. Josepe GuarueriuS del Jesll.
who in some respect, divides honor> with
StradivariuS, was born in l6S} deceased l.45.
His finest specimens were made in the eight
eenth century. previously to his deprivation Of
liberty for committing political offence. Carlo
Ber"onZl rlNalcd the king and prince of Gre
mona in both Workmanship and vanishing.
His life comprised the dates 1.lS-55.
Instead of "There We're three great violin
makers at that place" make the words five. or
more, and we shall be nearer the facts. 50,
too. increase the price of StradiyariiiS bes t
violin> to $4,000 or $4,000. August Wilhelmj
has one Of that makers choicest revelations for
which he is said to have paid the last mentioned
sum. Ole Bull waited tWenty-t or thirty
years to get possession of hi Salo's master
piece. Half a dozen gentleman are anxious to
purchase that instrument to-day at fabulous
price.
Tocontinue: "The art was kept in the hands
of IL few makers" Alas. over forty GOOD
artisans are embraced in Cremona'> list. At
least nineteen of whom are comparatively we'll
known through their work by students and
dealers. When look is taken beyond Gre
| mona'> confines, we find eleven makers of
celebrity among the long roll OF those who
wrought in Brescia, Venice, Milan, Rome and
other cities.
The climax "Giu>eppe was the son of Andri
(>hould read Andrea>) GuarncrilI>, mentioned
above. but in his manufacture initiated the
great >tradivaru~." lis we'll that the most
original Of Italian artists was in his grave II
years before he was called Il copyi>t. As to
his paternity. he was the son of John Baptist
GlIarnerlus, con>e lucntlv nephew of Anhrca>.
The origina! record of his baptism june >th.
1858. reads: "G"urneU (Gi"srppr -luh.ni"l
bigliD de lcyiHih,i roAj"yi Girru"ni BuujStn
Ga"r"rri cd .lngrio Locodcifu." Had ihi>
brilliant luthier toel steadily and temper
atcly a Stradnariu>, avoiding the ti>>ipaton>
to winch he was prone. the crown might have
been placed upon his brow. The labels iie
attached TO his instruments read. ''.I"~.ph
Guarncriu> feet Crrmnnc tmo IL" TO
distinguish his work from that of Il relative of
similar name he appended to the conclusion of
the TWO lines forming his label Il cross. beneath
which were the letters 81. III. =" He was
evidently Il member of some religious or secret
order. and formed his monogram. possibly, to
both distinguish his instruments and facilitate
brother tolcr> imagined that their violinS would
ever be 50 ba>ely initiated. The label most
commonly found in copies of this maker read,
'Jo>eph Guarneru> tremonen>i> faciehct
l -. lnouSanu> upon thousands are GATED
after the year of his happieSt efforts. Hun
drcd>. possibly thousands, of uninformcd Gus
toners have been swintled thereby.
Regarding the violin whose possession can
hut make Mr.. Chase somewhat enyicd by
musicians in his vicinity. there is much more to
paper article. The label is one Of which have
never read nor heard. "Giu>eppe Guarneriu>
fecit Crcmona 1851" (Ia>t two figures doubtfuD
cannot apply to any of the Guarnerii after
Andrei>. since none of that name We're old
enough to make Violins until the succeeding
century. | have seen Instruments. however,
bearing labels which antcaed the purportcd
makers birth by nearly 100 years. Because
the label is irregular it will not do to conclude
that the violin is a copy Ruthless hands have
made havoc of these 'ear-markS.' Connoi>-
Seur> of violins will first examine the scroll,
voIute, >ound-holes, purtling general contour.
and then deeply scrutinizc the varni>h. If
this should prove of that unrivallcd purity
which shows in different lights the effects Of
sunshine on cloud and waye-such coru>cationS
a> varnishers for over century have tried in
VAIN to imitate-then, all other points being in
harmony, the authenticity of the instrument
may be considered established, label or no
label.
The hundred years of history vouched for
this particular violin is accumulative evidence,
for most limitations have been made since 1880.
The place of its purchase Liverpool, is in its
favor. though the fact that none of Guarnerius
iG,trumentS are known to have reached England
until this century is against its genuineneSs.
Paganini, who first brought Joseph Guarnerills
del Jesus Violins into notice about 1920, had ii
splendid specimen which was dated 1143.
Amati was the Italian maker best known in
England for long period. Then came Strad-
varus, GuaTnerius, Ber%onzi, and others of
lesser note. The finest Guarnerils violin
known to be in existence is owned by X. ID.
Hawley. Esq. of Hartford. This our English
cousins yrudgingly admit.
NJ. NJ. REYNrLrs.
Davisville. II. /. Mar. II, 1887.
The Republicans of Rhode Island bavc re-
Nominated Cnyerunr pnah.Iy